Awesome 3d Game Development: No Programming Required (Charles River Media Game Development)

Chapter 3: Basic Building Blocks of a Game

Figure 3.1 A square is 2D, while a cube is 3D.

Figure 3.2 The Cartesian Coordinate System. The x-axis, y-axis, and z-axis.

Figure 3.3 A cube and the x,y,z value of its location in space.

Figure 3.4 Another cube in a different x,y,z position.

Figure 3.5 A pixel is the smallest unit of a computer image—simply colored dots.

Figure 3.6 Here is an area of the fish image before enlarging.

Figure 3.7 Here is the same area enlarged with pixels interpolated.

Figure 3.8 Here is the Windows Desktop at 640 x 480 dots per inch.

Figure 3.9 Here is the Windows Desktop at 800 x 600 dots per inch.

Figure 3.10 Here is the Windows Desktop at 1024 x 768 dots per inch.

Figure 3.11 Here is an image created at 320 x 200 dots per inch.

Figure 3.12 Here is the same image displayed in 640 x 480 mode.

Figure 3.13 This is the RGB color palette for black.

Figure 3.14 This is the RGB color palette for white.

Figure 3.15 This is the RGB color palette for red.

Figure 3.16 This is the RGB color palette for yellow.

Figure 3.17 This is the RGB color palette for orange.

Figure 3.18 This is an image in 16 colors.

Figure 3.19 This is an image in 256 colors.

Figure 3.20 This is an image in thousands of colors.

Figure 3.21 This is an image in millions of colors.

Figure 3.22 A 256-color palette. You can see only shades of gray here, but those squares are 256 different colors.

Figure 3.23 This is a 256-color image.

Figure 3.24 This is the same image after changing the palette colors. The computer sees the number, not the color.

Figure 3.25 Cutting and copying sections of an image. Note: Copying does not affect the image.

Figure 3.26 Pasting a section of an image.

Figure 3.27 Skewing an image.

Figure 3.28 Rotating an image.

Figure 3.29 A smaller image blown up; pixel rip.

Figure 3.30 An image reduced.

Figure 3.31 The same image enlarged to its original size. Notice what this has done.

Figure 3.32 Cropping an image. The crop outline.

Figure 3.33 The image cropped. Everything outside the crop outline is now gone.

Figure 3.34 The image.

Figure 3.35 The image flipped horizontally.

Figure 3.36 The image flipped vertically.

Figure 3.37 A sprite image. Notice the solid part surrounding the image.

Figure 3.38 A sprite image in a game. Notice that the solid part is not displayed. You can see the background.

Figure 3.39 A series of sprite images for a game animation.

Figure 3.40 A series of sprite images for a spinning logo.

Figure 3.41 An image of a ghost.

Figure 3.42 The mask for the ghost image.

Figure 3.43 The mask and image combined in a scene.

Figure 3.44 The masked ghost image with opacity set at 50%.

Figure 3.45 A close-up detail of the ghost image.

Figure 3.46 This image has no anti-aliasing.

Figure 3.47 This image has anti-aliasing.

Figure 3.48 Here is a close-up of both of the images’ edges.

Figure 3.49 This 640 x 480 image is in the BMP format. It is 900 KB.

Figure 3.50 This 640 x 480 image is a compressed JPEG and is only 40 KB.

Figure 3.51 Here is a close-up of the same area of both images.

Chapter 5: Elements of the Design Document

Figure 5.1: A level with a map.

Figure 5.2: A rough sketch of a raptor.

Figure 5.3: The raptor with some color.

Figure 5.4: A 3D rendering of the raptor.

Figure 5.5: List of weapons and damages.

Figure 5.6: A fictitious racing game opening screen.

Figure 5.7: A user interface example.

Figure 5.8: Basic parts of a game proposal.

Figure 5.9: Example from PCData showing market sales for February 2001.

Chapter 6: What Programming Language or Tools Should You Use?

Figure 6.1: The Visual C++ IDE is an advantage for developers.

Figure 6.2: The VB IDE is easy for beginners to pick up.

Figure 6.3: The level editor that ships with 3D Game Studio.

Chapter 7: Introduction to Multimedia Fusion

Figure 7.1: The opening screen for extracting the files.

Figure 7.2: An overview of the installation process is displayed.

Figure 7.3: The default extraction folder is displayed.

Figure 7.4: Verify the location before clicking Next.

Figure 7.5: The files are being extracted.

Figure 7.6: The last step in our extraction is complete.

Figure 7.7: The first step in the installation.

Figure 7.8: A license agreement is displayed.

Figure 7.9: Your user information can be entered.

Figure 7.10: Verify the information you entered.

Figure 7.11: Typical and Custom options are available.

Figure 7.12: The destination folder can be changed.

Figure 7.13: The shortcut folder can be changed.

Figure 7.14: Verify your selections and then click Install.

Figure 7.15: Files are being copied.

Figure 7.16: The installation is nearly finished.

Figure 7.17: Our install is complete.

Figure 7.18: The computer needs to be rebooted.

Chapter 8: Multimedia Fusion Editors

Figure 8.1: Demo information is displayed on startup.

Figure 8.2: Tip of the Day window.

Figure 8.3: The main interface.

Figure 8.4: We have gained a considerable amount of space by closing the window.

Figure 8.5: Creating a new application.

Figure 8.6: Choose Application from this window.

Figure 8.7: The interface has changed.

Figure 8.8: The Storyboard Editor.

Figure 8.9: The Frame Editor.

Figure 8.10: The Event Editor.

Chapter 9: Our First Game in MMF

Figure 9.1: The Frame Editor is opened.

Figure 9.2: The Insert menu allows us to insert objects.

Figure 9.3: Insert an existing object is displayed

Figure 9.4: The bat is now visible in the frame.

Figure 9.5: Your frame should now look like this.

Figure 9.6: Position the bat using this figure as a reference.

Figure 9.7: The ball has been placed.

Figure 9.8: We also need a brick to destroy.

Figure 9.9: The brick in the upper left.

Figure 9.10: The Duplicate Object window.

Figure 9.11: Your screen now looks like this.

Figure 9.12: The first step in creating a new movement.

Figure 9.13: Choose Move allows us to set up the type of movement for our object.

Figure 9.14: The Ball movement setup window has specific options for ball movements.

Figure 9.15: The Eight directions movement setup screen.

Figure 9.16: The Direction tab with default options.

Figure 9.17: Left and right should be the only options selected.

Figure 9.18: Deselect all directions.

Figure 9.19: The icon is one way to open the editor.

Figure 9.20: The New Condition window.

Figure 9.21: The pop-up menu as displayed.

Figure 9.22: The test a collision window.

Figure 9.23: The event has been created.

Figure 9.24: The brick column.

Figure 9.25: A check mark is now visible.

Figure 9.26: The brick is replaced by the bat in this event.

Figure 9.27: The ball will now bounce.

Figure 9.28: The pop-up menu has many options.

Figure 9.29: Test position of “Ball 1”window.

Figure 9.30: The new entry in the Event Editor.

Figure 9.31: The game is running.

Figure 9.32: Because we are using a demo version, you may see this screen.

Chapter 10: Finishing Touches for Our First Game

Figure 10.1: The Event Editor in MMF.

Figure 10.2: Creating a new condition.

Figure 10.3: A pop-up menu is displayed.

Figure 10.4: A Start of Frame event is now shown.

Figure 10.5: The menu allows us to pick various options.

Figure 10.6: The Play and Loop Music window.

Figure 10.7: We set how many times the music loops in this window.

Figure 10.8: Choose Set Number of Lives from the pop-up menu.

Figure 10.9: The Add to Number of Lives window.

Figure 10.10: Adding to the score.

Figure 10.11: Increasing our score by 100.

Figure 10.12: The pop-up menu allows us to choose Play Sample.

Figure 10.13: The first step in subtracting a life.

Figure 10.14: We can choose the number of lives we would like to subtract.

Figure 10.15: The Select Position window.

Figure 10.16: The ball is traveling to the right by default.

Figure 10.17: We need to set the directions.

Figure 10.18: Choose Insert an object.

Figure 10.19 The Create new object window.

Figure 10.20: Position the + in the correct location.

Figure 10.21: You can close this window.

Figure 10.22: The score is now displayed in the frame.

Figure 10.23: The Lives Setup window.

Figure 10.24: Position your cursor on the opposite side of the screen.

Chapter 11: Introduction to Music and Sound Effects

Figure 11.1: The installation program begins with this screen.

Figure 11.2: Continue the installation by clicking the Next button.

Figure 11.3: Registration information that will be used by ACID.

Figure 11.4: Click Next after changing the installation directory.

Figure 11.5: Your Ready to Install window should look similar to this.

Figure 11.6: A window similar to this will be displayed when the files are copied to the installation directory.

Figure 11.7: The final step in the installation process.

Figure 11.8: If you don’t have a serial number, you should click on the Next button.

Figure 11.9: Unless you have a serial number, we’ll set up ACID as ACID XPress.

Figure 11.10: The ACID interface is displayed.

Figure 11.11: The interface offers standard Windows menu bars.

Figure 11.12: The interface with labels.

Figure 11.13: The Media Explorer works similarly to Windows Explorer.

Figure 11.14: The Track View is the space where you will draw events on each track.

Figure 11.15: Close-up of the Beat Ruler.

Figure 11.16: Right-clicking the Time Ruler changes the format.

Figure 11.17: The zoom controls give you control over the entire area.

Figure 11.18: The Track List gives you control over each of the tracks.

Figure 11.19: The volume controls how loud a track is in a mix.

Figure 11.20: The highlighted line indicates the new position for a track.

Figure 11.21: The track is being renamed within the project.

Figure 11.22: The Properties tab offers several options to modify behaviors.

Figure 11.23: The Properties tab is one of the most powerful features offered in ACID.

Chapter 12: Adobe’s Audition

Figure 12.1: The installation program begins with this screen.

Figure 12.2: Click Next after selecting an installation directory.

Figure 12.3: The license agreement.

Figure 12.4: You can set your name and company name.

Figure 12.5: The destination can be set.

Figure 12.6: Setting up default file associations.

Figure 12.7: The files will soon be copied to your computer.

Figure 12.8: The files are now being copied.

Figure 12.9: The last step in the setup process.

Figure 12.10: A warning is displayed that details the trial version options.

Figure 12.11: The interface offers standard Windows menu bars.

Figure 12.12: The areas of Audition’s interface are clearly marked here.

Figure 12.13: The toolbars contain shortcuts to common functions.

Figure 12.14: The Display Range Bar indicates the part of the waveform currently in view.

Figure 12.15: Audition’s Amplitude Ruler measures the relative amount of audio data.

Figure 12.16: The Waveform Display area is where you view the audio materials.

Figure 12.17: These fields display various time elements related to the current waveform.

Figure 12.18: Level Meters are used to monitor the volume of incoming and outgoing sounds.

Figure 12.19: The Time window displays the current cursor position.

Figure 12.20: The Status Bar displays various information related to the file.

Figure 12.21: The Transport toolbar is the control center for rewind, stop, play, and so on.

Figure 12.22: The zoom buttons allow you to alter the vertical scale or get more or less detail.

Chapter 13: Creating Music and Sound Effects

Figure 13.1: A blank project in ACID.

Figure 13.2: The Project Properties window.

Figure 13.3: The project with a single loop added to it.

Figure 13.4: The Time Ruler with a time of approximately 21 seconds.

Figure 13.5: The first entry in the grid.

Figure 13.6: The finished project.

Figure 13.7: The layout of a typical sound card.

Figure 13.8: Sound cards often have labels.

Figure 13.9: The mixer panel allows you to choose options related to the sound card.

Figure 13.10: Line In with the correct settings.

Figure 13.11: Audition displaying the recorded sample.

Figure 13.12: The newly pasted area.

Figure 13.13: After the envelope has been applied.

Figure 13.14: The final version of the WAV file.

Chapter 14: Introduction to MilkShape 3D

Figure 14.1: The installation program begins with this screen.

Figure 14.2: You should set the appropriate installation directory for MilkShape.

Figure 14.3: Clicking Start copies files to the hard drive.

Figure 14.4: This is the final step in the installation process.

Figure 14.5: Make sure the system date and time are accurate before you click Yes.

Figure 14.6: The standard MilkShape 3D interface.

Figure 14.7: You have many options available for the individual view windows.

Figure 14.8: The viewports can be changed to your liking.

Figure 14.9: Viewports in standard four-window setup.

Figure 14.10: The viewports with three windows: two on the left and one on the right.

Figure 14.11: The viewports with three windows: one on the left and two on the right.

Figure 14.12: Displaying captions in the viewports can be a big timesaver.

Figure 14.13: The primitives are used to construct models.

Figure 14.14: A sample sphere displayed in a four-window viewport.

Figure 14.15: The geo-sphere is smooth, compared to a standard sphere.

Figure 14.16: Boxes are drawn in a similar manner as the spheres.

Figure 14.17: Depending on the viewport, a cylinder may look like a circle or a rectangle.

Figure 14.18: Mesh editing tools are available in the Model tab.

Figure 14.19: The selection box allows you to select multiple faces or vertices at a single time.

Figure 14.20: The faces or vertices that are selected will be red to distinguish them from the others.

Figure 14.21: The faces have been moved –3 in all directions using the input boxes.

Figure 14.22: MilkShape’s Origin option.

Figure 14.23: A triangular face that has been extruded.

Figure 14.24: Creating joints and bones in MilkShape is a very easy process.

Figure 14.25: MilkShape has a standard Windows menu.

Figure 14.26: A square with two faces selected.

Figure 14.27: The edge between two faces has been turned.

Chapter 15: Introduction to Paint Shop Pro

Figure 15.1 The installation program begins with this screen.

Figure 15.2 Click Next at this window to continue the installation.

Figure 15.3 You need to accept the license agreement before you can continue.

Figure 15.4 Choose a Complete installation from this window.

Figure 15.5 This is the final step in the installation process.

Figure 15.6 Clicking Finish in the next panel ends the installation process.

Figure 15.7 This window allows you to purchase Paint Shop Pro or use it in trial mode for 30 days.

Figure 15.8 You can select certain files to be associated with Paint Shop Pro.

Figure 15.9 Paint Shop Pro has an interface very similar to most Windows applications.

Figure 15.10 The Paint Shop Pro interface with everything labeled.

Figure 15.11 The Tool Palette contains a variety of drawing, painting, and retouching tools.

Figure 15.12 Painting freehand with the mouse.

Figure 15.13 The airbrush works similarly to the standard paintbrush.

Figure 15.14 Some of the picture tubes in Paint Shop Pro.

Figure 15.15 You can quickly create entire scenes with picture tubes.

Figure 15.16 The Layer Palette allows you to quickly view layer information.

Figure 15.17 Vector and raster layers are distinguishable in the Layer Palette.

Chapter 16: Simulating 3D with MMF

Figure 16.1: The Create New Object window.

Figure 16.2: A cross hair will replace the standard mouse pointer.

Figure 16.3: The 3D Object Editor is displayed.

Figure 16.4: We are interested in the button that looks like a filmstrip.

Figure 16.5: The standard dialog box is displayed.

Figure 16.6:

Figure 16.7: Click the Preview Animation button to open the 3D Object Preview window.

Figure 16.8: The 3D Object Preview window provides a variety of options.

Figure 16.9: We’re choosing blue as a color from the available options.

Figure 16.10: A dialog box is displayed, prompting to save the 3D object.

Figure 16.11: The Frame Editor is displayed, showcasing the changes we made to the object.

Figure 16.12: A new condition is being created.

Figure 16.13: The default settings are OK.

Figure 16.14: Our 3D Sprite is the only object available from the window.

Figure 16.15: The Set Z Position window with the Expression Editor.

Figure 16.16: A New Action window is opened.

Figure 16.17: Our final expression.

Figure 16.18: An example of the power of Mode 7.

Figure 16.19: Largest view of object.

Figure 16.20: Getting smaller.

Figure 16.21: Smallest view of object.

Chapter 17: Drawing Graphics for Duck Blast in Paint Shop Pro

Figure 17.1: These are the correct settings for the new image.

Figure 17.2: Choose Preset Shapes from the toolbar.

Figure 17.3: The triangle shape needs to be selected.

Figure 17.4: We do not want this to be a vector.

Figure 17.5: Position it near the middle of the screen.

Figure 17.6: Draw the triangle using this image as a guide.

Figure 17.7: Draw uneven triangles.

Figure 17.8: Select the Magic Wand tool.

Figure 17.9: The selection box is visible.

Figure 17.10: The Flood Fill tool is selected next.

Figure 17.11: Choose a solid style.

Figure 17.12: Change the color to a shade for a blue sky.

Figure 17.13: Flood fill the selection box.

Figure 17.14: Invert from the menu.

Figure 17.15: Change the color to green.

Figure 17.16: We need to use the selection tool.

Figure 17.17: Position the cursor using this as an approximate guide.

Figure 17.18: Click and drag to create the selection.

Figure 17.19: Change the color to a darker shade of blue.

Figure 17.20: Create a new layer for our image.

Figure 17.21: The default properties are OK.

Figure 17.22: You can verify the existence of the new layer.

Figure 17.23: Draw a series of ellipses.

Figure 17.24: Select the ellipses with the Magic Wand.

Figure 17.27: We need to expand the selection.

Figure 17.25: We need to invert our selection.

Figure 17.26: The outside of the entire cloud is now selected.

Figure 17.28: We’ll use 5 pixels for our width.

Figure 17.29: Fill with white.

Figure 17.30: Position the cloud with the Mover tool.

Figure 17.31: This would be an approximate location.

Figure 17.32: We’ll create another cloud.

Figure 17.33: Fill the cloud again with white.

Figure 17.34: A reminder will appear whenever you save an image outside the default PSP file format.

Figure 17.35: Contract the selection to make it smaller.

Figure 17.36: We’ll use a value of 10 pixels.

Figure 17.37: Choose Copy to place a copy of the cloud on the Clipboard.

Figure 17.38: Paste as a new image.

Figure 17.39: The new image looks like this.

Figure 17.40: You can increase or decrease the image.

Figure 17.41: The Canvas Size window.

Figure 17.42: Make the image larger.

Figure 17.43: We are going to rotate the cloud.

Figure 17.44: The Rotate window.

Figure 17.45: We’ll rotate with a few options.

Figure 17.46: We’re going to create another cloud.

Figure 17.47: The Resize window.

Figure 17.48: We’ll make the cloud smaller.

Figure 17.49: We need to zoom in.

Figure 17.50: The Zoom command is located in the View menu.

Figure 17.51: We now have a much better picture of the image.

Figure 17.52: Draw two ellipses.

Figure 17.53: The Magic Wand selects the outside of the ellipses.

Figure 17.54: Invert the selection.

Figure 17.55: Flood fill with yellow.

Figure 17.56: Invert the selection again.

Figure 17.57: Choose the Paintbrush tool.

Figure 17.58: Set a hardness of 1.

Figure 17.59: Select the color orange to draw the beak.

Figure 17.60: The next step is to draw an eye.

Figure 17.61: Draw a rectangle along the bottom.

Figure 17.62: Remove all the yellow along the bottom.

Chapter 18: 3D Models for Duck blast

Figure 18.1: Create a sphere.

Figure 18.2: Create a larger sphere.

Figure 18.3: Scale the second sphere.

Figure 18.4: Create another small sphere.

Figure 18.5: Scale the sphere.

Figure 18.6: Position the sphere.

Figure 18.7: Duplicate the item.

Figure 18.8: Move the newly duplicated item.

Figure 18.9: Rotate the lower beak of the model.

Figure 18.10: Select the upper beak and rotate.

Figure 18.11: Select the faces at the bottom of the duck.

Figure 18.12: Edit the vertex.

Figure 18.13: Lithunwrap can be opened.

Figure 18.14: Locate the duck model.

Figure 18.15: Choose Name in the Select menu.

Figure 18.16: The window is displayed.

Figure 18.17: Click OK to continue.

Figure 18.18: We need to modify the materials.

Figure 18.19: Click the Add button.

Figure 18.20: The name appears in the window.

Figure 18.21: This window appears.

Figure 18.22: The first step in saving the UVMap.

Figure 18.23: Type the name for the skin.

Figure 18.24: Modify the material.

Figure 18.25: Choose the skin properties.

Figure 18.26: Choose Bitmap from the drop-down.

Figure 18.27: The Diffuse Map Properties window.

Figure 18.28: Locate the skin we exported.

Figure 18.29: We can see the exported image.

Figure 18.30: Open the exported image.

Figure 18.31: Paint the body yellow.

Figure 18.32: The beak needs to be orange.

Figure 18.33: Properties needs to be selected from the Layers menu.

Figure 18.34: The layer opacity needs to be set.

Figure 18.35: We can see through the layer.

Figure 18.36: Draw the blue eye.

Figure 18.37: Change Opacity to 100%.

Figure 18.38: The eye is now visible.

Figure 18.39: Open the model.

Figure 18.40: Preview the model to see the skin.

Figure 18.41: Choose Textured from the pop-up menu.

Figure 18.42: Take a screenshot.

Figure 18.43: Save the file.

Figure 18.44: Use a value of –45.

Figure 18.45: Rotate the duck 90 degrees.

Chapter 19: Finishing Duck Blast 3D

Figure 19.1: A new icon is visible at the insertion point.

Figure 19.2: The file is imported.

Figure 19.3: Your screen now looks like this.

Figure 19.4: You will be asked if you want to save the changes.

Figure 19.5: We have successfully imported the file.

Figure 19.6: Choose horizontal center.

Figure 19.7: Choose vertical center.

Figure 19.8: The backdrop is now aligned.

Figure 19.9: The Animation Editor is opened.

Figure 19.10: The image is opened.

Figure 19.11: The Transparent Color option.

Figure 19.12: The duck is left by itself.

Figure 19.13: Animation Editor with changes.

Figure 19.14: Insert a New Animation is displayed.

Figure 19.15: The Insert New Animation window.

Figure 19.16: Insert New Direction is available as a pop-up menu.

Figure 19.17: The Insert New Direction window.

Figure 19.18: A frame was created by MMF.

Figure 19.19: Click the right direction.

Figure 19.20: Insert New Direction options.

Figure 19.21: Make a copy of the existing direction.

Figure 19.22: The Insert Animation button.

Figure 19.23: The Insert Animation window.

Figure 19.24: Morphing processor in action.

Figure 19.25: You’ll need to find and click this button.

Figure 19.26: Final results are displayed.

Figure 19.27: The duck is visible in the frame.

Figure 19.28: The duck is on the right side of the frame.

Figure 19.29: The pop-up menu has various properties.).

Figure 19.30: The Choose Move window is displayed.

Figure 19.31: Ball movement options are visible.

Figure 19.32: Change the speed for the object.

Figure 19.33: The initial direction of the object can be set to any of the available options.

Figure 19.34: Left arrow should be the only direction that is selected.

Figure 19.35: Choose the Hot Spot tool.

Figure 19.36: You can see the hot spot in the frame.

Figure 19.37: The Clone Object window.

Figure 19.38: Create a clone of the object.

Figure 19.39: The upper-left handle will allow us to resize the duck.

Figure 19.40: The duck should be half its original size.

Figure 19.41: Clone the original duck.

Figure 19.42: The Test Position window.

Figure 19.43: You can see the arrow that needs to be selected.

Figure 19.44: The new event has been created.

Figure 19.45: You can repeat the steps for every duck.

Figure 19.46: The eraser can be selected.

Figure 19.47: The Continuous Brush tool.

Figure 19.48: There are many colors available.

Figure 19.49: A toolbar is available for the tool.

Figure 19.50: One of the options is the brush size.

Figure 19.51: The Set X Coordinate window is displayed with the Expression Editor.

Figure 19.52: XMouse has been entered as the expression.

Figure 19.53: The User Clicks On an Object window.

Figure 19.54: Position the cursor near the duck.

Figure 19.55: The DirectShow options.

Figure 19.56: We need to choose Play Sample.

Chapter 20: Introduction to the 3D Gamemaker

Figure 20.1: The opening screen for installation.

Figure 20.2: The install area is highlighted.

Figure 20.3: The Install Wizard walks you through the steps.

Figure 20.4: 3D Gamemaker’s license agreement.

Figure 20.5: You can choose the Typical Installation.

Figure 20.6: You need to choose an installation directory.

Figure 20.7: Choose a program group or leave the default setting.

Figure 20.8: Review your settings and then click Next.

Figure 20.9: The files are being copied to your computer.

Figure 20.10: You can decide if you would like an icon on your desktop.

Figure 20.11: The final step in the installation.

Chapter 21: Creating a Game with the 3D Gamemaker

Figure 21.1: 3D Gamemaker allows you to choose Standard or Beginner operation.

Figure 21.2: Choose Make Game from the menu.

Figure 21.3: 3D Gamemaker comes with several default types of games.

Figure 21.4: You can select from any of the prebuilt environments.

Figure 21.5: We’ll control a tank in the game.

Figure 21.6: The Frag Bomb being selected.

Figure 21.7: The available enemies.

Figure 21.8: Available bullets in the 3D Gamemaker.

Figure 21.9: The Debris obstacle for the level.

Figure 21.10: Dark Tank is the end of level boss.

Figure 21.11: You can add energy pick-ups to the game.

Figure 21.12: The various game settings.

Figure 21.13: The game objectives.

Figure 21.14: The difficulty settings for the game.

Figure 21.15: The options for 1/2 Player mode.

Figure 21.16: The Game Volumes can be changed.

Figure 21.17: The various fonts that can be used by the 3D Gamemaker.

Figure 21.18: The Game Appearance options.

Figure 21.19: An Opening Screen can be changed.

Figure 21.20: The Hiscore screen can be set up in many ways.

Figure 21.21: Choose Save Game from the menu.

Figure 21.22: The Save a Game menu.

Figure 21.23: Click Play Game to start the game.

Figure 21.24: The opening screen of our game.

Figure 21.25: The game is being loaded.

Figure 21.26: Our level is displayed.

Figure 21.27: Encountering the first enemy.

Figure 21.28: The end of level boss.

Chapter 22: Silly Adventure

Figure 22.1: Your screen should appear similar to this.

Figure 22.2: The level we have picked is displayed immediately.

Figure 22.3: Players that are available in the category.

Figure 22.4: Characters specific to the Jungle category.

Figure 22.5: The tomato is selected.

Figure 22.6: The selection we have made is visible.

Figure 22.7: Chick has been selected.

Figure 22.8: Boulders are added to the project.

Figure 22.9: The rabbit as displayed in T3DGM.

Figure 22.10: The game settings.

Figure 22.11: The last icon is selected.

Figure 22.12: Give the game the name Silly Adventure.

Figure 22.13: The opening screen for our game.

Figure 22.14: The game is loading.

Figure 22.15: Actual game play is started.

Figure 22.16: The main character encounters the first enemy.

Figure 22.17: Nearing the end but running into the blue bunny.

Figure 22.18: Our game has ended.

Chapter 23: Space War

Figure 23.1: T3DGM at startup.

Figure 23.2: Our level is displayed automatically.

Figure 23.3: The main character’s animation playing in T3DGM.

Figure 23.4: The ammunition for our player.

Figure 23.5: Our first enemy.

Figure 23.6: The second choice.

Figure 23.7: A final selection.

Figure 23.8: The enemies will all fire the same bullet.

Figure 23.9: Asteroid obstacles appear in the level.

Figure 23.10: Our end of level boss.

Figure 23.11: Game settings are available.

Figure 23.12: The final icon.

Figure 23.13: Give the project the name space war.

Figure 23.14: The game at opening.

Figure 23.15: Avoiding asteroids in the level.

Figure 23.16: An enemy appears at the horizon.

Chapter 24: Custom 3D Models in T3DGM

Figure 24.1: The model as it appears in T3DGM.

Figure 24.2: The first set of options.

Figure 24.3: A new set of options.

Figure 24.4: Our third set of options.

Figure 24.5: The fourth level of options.

Figure 24.6: We have finally reached the last level.

Figure 24.7: X is now smaller.

Figure 24.8: Several types of wheels are available for our car.

Figure 24.9: The wheels have been changed.

Figure 24.10: The vehicle appears to be raised.

Figure 24.11: This will be displayed when you open the file.

Figure 24.12: The file is displayed.

Figure 24.13: Everything is selected with the exception of the wheels.

Figure 24.14: The PSP Color Adjustment window.

Figure 24.15: The sliders are adjusted appropriately.

Figure 24.16: The options for loading a texture.

Figure 24.17: The Texture Select screen.

Figure 24.18: Click Your Own Bitmap.

Figure 24.19: Browse to the location of the texture.

Figure 24.20: Our texture is loaded.

Figure 24.21: Resize the selection box.

Figure 24.22: Click the Get Texture button.

Figure 24.23: Click the Finish button.

Figure 24.24: Click the Update button to see the change.

Chapter 25: Building Custom 3D Levels

Figure 25.1: T3DGM at startup.

Figure 25.2: A new set of options.

Figure 25.3: The Scene Editor.

Figure 25.4: Placing the tile.

Figure 25.5: Rotating the tiles 90 degrees.

Figure 25.6: The letters S, B, and E are extremely important for our levels.tegories from our previous projects that used the built-in levels.

Figure 25.7: An example of a level.

Figure 25.8: View the level in 3D.

Figure 25.9: Enter a filename for the level.

Figure 25.10: The playing surface was adjusted to the right.

Figure 25.11: Contrasting styles may appear out of place.

Figure 25.12: Built-in level from T3DGM.

Figure 25.13: A custom level.

Figure 25.14: Variations in height, such as this, are not available in a custom level.

Chapter 26: Tomb Raiding x 2

Figure 26.1: This is a reference for you to use to make your own scene.

Figure 26.2: The custom design is visible.

Figure 26.3: The crossbow is our selection.

Figure 26.4: Choose Quarrel for a weapon.

Figure 26.5: Our enemy is the Goblin Scout.

Figure 26.6: Choose the Forest Troll.

Figure 26.7: Run the final project.

Figure 26.8: Choose Caverns01 from the list.

Figure 26.9: Testing the game.

Chapter 27: Introduction to Reality Factory

Figure 27.1: Start the installation.

Figure 27.2: Choose Next.

Figure 27.3: Continuing the installation.

Figure 27.4: Click Yes on the next screen.

Figure 27.5: Click the Start button.

Figure 27.6: Files are being copied.

Figure 27.7: The configurator needs to be selected.

Figure 27.8: The next step.

Figure 27.9: Click the OK button.

Figure 27.10: The new window can be seen.

Figure 27.11: WinRar options for extraction.

Figure 27.12: The Video Setup window with settings.

Chapter 28: Getting Started with Reality Factory

Figure 28.1: The Level Editor in Reality Factory.

Figure 28.2: The Level Options window.

Figure 28.3: The default cube added to the editor.

Figure 28.4: The Customize Template button is available on the right.

Figure 28.5: Resize the cube similarly.

Figure 28.6: Resize the brush.

Figure 28.7: The grids are both visible.

Figure 28.8: Our level is nearly finished.

Figure 28.9: The brushes are cloned.

Figure 28.10:

Figure 28.11: The final level.

Figure 28.12: First-person view.

Figure 28.13: Third-person view.

Figure 28.14: Diablo-style view.